The Cutprice Guignol

The Ninth Year: The Haunting of Swill House

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Doctor Who: Tantalising Adventures Really Defined by Incoming Sequel

Hey, so, after the crapstorm that was last week’s episode, and a week where I speculated in dramatically wrong ways about what would happen in the Doctor Who season eight finale, I’ve come across something sorely missing in the last ten weeks: an episode that I loved almost unconditionally.

I think it’s telling that, for the first time this series, me and the Consort finished watching Dark Water and immediatley negotiated more episodes to watch. It was an outing that reminded us of Doctor Who at it’s best, and made us want to go back and wallow in the triumphs of yesteryear (we matched it with the Lake Silencio two-parter, and the Bad Wolf finale for season one, both of which are always better than you remember). This episode was tantalising, and wasn’t enough on it’s own. That’s a good sign.

I really thought Dark Water was a belter of an episode, the best and most true to form of the series so far (Listen was magnificent, but it didn’t have the fun or breakneck pace of this one). Early in the episode, Danny is killed, and Clara and the Doctor go to find him (incidentally, Jenna Coleman’s performance throughout this entire segment was jaw-dropping, award-winning stuff, particularly the scene where she explained the real tragedy of his death lay in the mundanity of it all), leaving Danny Pink in Heaven/Hell/The Nethesphere with Chris Addison as his poison-tongued tour guide. This segment had some of the best writing all season going for it, with Chris Addison’s description of our understanding of the afterlife being a particular highlight. And the offscreen screaming as Chris Addison winced that they had “left their body to science”? Masterful.

A big shout out to Rachel Talalay, one of the distressingly few female writers or directors to grave Moffat’s run of Who, as she did a cracking job on the direction. Her close-up, tight shots on Danny and Clara as they have their last conversation were heartbreaking, but not as gutting as the cut between soldier Danny realising he’d killed a child, and afterlife Danny realising he was going to meet him. C’mere, Samuel Anderson, let me buy you all the drinks for saving the series.

And then, of course, there was Missy. I’m going to put a big fat SPOILER ALERT here, which I rarely do as I assume most people coming here have already seen the episode, but the reveal of Missy’s identity was so good I don’t want it ruined for anyone here. Go away. Come back. Watched it? Are you sure? Certain? One hundred percent? Okay.

HOLY SHIT IT WAS THE MASTER! I do not exaggerate in the least when I say that I threw a bottle of juice against the opposite wall in excitement when she announced her identity. Like most two-parters though, the success of this episode will rest on how well they pull of the actual finale. Either way, Michelle Gomez is a saccharine delight and a worthy successor to the formidable John Simm. And surely we’ll be seeing more of her after this season ends, because you don’t bring the Master back as a woman then only give us one episode of her. Everything comes down to next week, and I’m hoping they do well because this episode was teeming with brilliant lines, scenes, and ideas-more than I can even touch on here- and I want it to remain as good as I think it is now.

But. Well, there’s always a but, isn’t there? This isn’t really a criticism of the episode, but you’ll have noticed that I haven’t been talking a whole lot about the Doctor. And there’s a reason for that. It suddenly struck me, in the middle of the night, which is when I write these reviews in my head and mentally paste them into the blog in the morning, that the problem is not with Peter Capaldi. Peter Capaldi is doing an excellent job playing the role he’s been given, but the problem is that role isn’t the Doctor. It’s leaning towards the sociopathic otherness of Moffat’s Sherlock, stripped down of much of his humanity and warmth. Watching Chris Ecclestone’s Doctor again, it’s so clear that a “dark” Doctor doesn’t have to be the aloof, trickster, testing personality that Capaldi’s playing to perfection right now- he is still the same man at heart(s), and doesn’t want to torture, tease, and even kill those who he comes into contact with. Anyone else of the same page here? Either way, I think that Moffat needs to hand over the reins to someone else and focus his attention on Sherlock, as it seems to be where his mind is at right now anyway. I’ll have you yet, Moffat. But if you can pull of next week, I’ll call off the hordes.

American Horror Story, and How Much of a Freakshow We Can Stomach

I wrote about American Horror Story: Freakshow and the treatment of Freaks therein.

A New Companion’s Guide to Doctor Who, part 4: The Villains

Behind The Creaky Door: A Horror Movie Rebuttal

“These stories frequently emphasise the element of horror because fear is our deepest and strongest emotion, and the one which best lends itself to the creation of nature-defying illusions. Horror and the unknown or the strange are always closely connected, so that it is hard to create a convincing picture of shattered natural law or cosmic alienage or “outsideness” without laying stress on the emotion of fear.” –

Notes on Writing Weird Fiction

H. P. Lovecraft, 1933

What’s behind the creaky door?

When my daughter first asked me the question “Do horror movies have to be scary?”, my immediate and unthinking response was “Yes”. And then, after a few seconds of reflection, “Actually, No.” Now, that may seem strange. Accepting that different things make different people laugh, a comedy film that isn’t funny is a failure by any standards. A musical with unmemorable tunes is destined to be quickly forgotten. A bad Rom-Com is…No wait a minute, all Rom-Coms are essentially crap, so that doesn’t really count, does it? But never mind, the question of how a horror movie that doesn’t scare can still be satisfying is a valid one.

First of all: What is a horror movie? The most common definitions (and there are several) talk about films which are intended produce a negative emotional reaction. But, I don’t think that’s the whole story. True, some horror films elicit involuntary bowel movements by jump scares and the liberal use of giblets. But the best do more, playing as much on our curiosity and instinctive fears of the unknown as on trying directly to scare us. Wondering what’s causing the strange noises upstairs is a strong element in any good horror movie, even if the solution isn’t necessarily frightening. So, I’d suggest that a horror movie is one that prompts curiosity and dread of the unknown as much as overt fear or scares.

Personally, I don’t think that a film must include supernatural elements to qualify as horror. And excessive and exuberant violence isn’t enough on its own, though many good horror films contain both. But a horror film must contain or at least hint at some sort of strangeness. For example, Alien (1979) is a horror film, in my view. And it contains no supernatural elements at all. But it is scary.

That it’s set in space and in the future don’t really matter. Sci-fi and horror are genres which regularly cross-over, partly because neither are constrained by narrow conventions. In either genre, when the hero or heroine finally pushes open that creaky door at the top of the stairs/opens the rusty airlock, there could be anything behind it at all. From a time-travelling, shape-shifting zombie to a dear, sweet, little old lady (who may also turn out to be a time-travelling, shape-shifting zombie). Just like Mr Lovecraft’s Weird Fiction, these movies can explore strangeness without the “galling limitations” of most other genres.

And for me it’s that exploration of the unknown rather than the final solution that defines the horror film. Fear and the unknown are closely linked, which is one of the reasons horror films can be frightening. The first film ever to scare me rigid was The Innocents (1961). The film contains virtually no violence and no scenes that are overtly frightening. The fear comes from the unknown, principally from not knowing whether the ‘ghosts’ exist at all or are simply a product of the overheated imagination of the main character. It is, without doubt, a horror film. As is George Romero’s Night of the Living Dead (1968). But Romero’s follow-up, Dawn of the Dead (1978) isn’t. Why? Because the zombies are no longer strange and unknown. They are a frightening but comprehensible external threat, a deus ex machina whose role and function is understood at the beginning of the movie. Not that Dawn of the Dead isn’t a cracking movie – it is. I just don’t believe it’s a horror film. But though it must deal with elements of the unknown, I don’t feel that a horror film has to be frightening to be effective. I believe that ultimate test of this comes from repeated viewing. There are a number of horror films which I have seen several times, and which I still enjoy. Most simply aren’t scary after the first viewing, but if they’re deftly made they can still be entertaining and satisfying more than once. I have lost count of the number of times I have watched An American Werewolf in London (1981), and I enjoy it every time. It’s certainly a horror film, but I don’t find it even faintly scary. Horror films deal with the broadest themes and those that find an echo in most people. Fear is often a part of the experience of watching the best horror films, but it isn’t essential and it’s lack doesn’t mean that a horror film can’t be engaging and effective. So, not all horror films have to be scary and not all scary films are horror. But to be a horror film, a movie must deal with the unfamiliar and the strange. And if it’s scary too, well, that’s probably because there is nothing we fear so much as the unknown. Ultimately, the nature of the thing behind the creaky door doesn’t really matter and doesn’t define a film as horror or not. It’s the journey to the door itself that makes and defines the genre.

Thanks to my Dad, Stephen MacGregor, horror buff, freelance writer, and owner of The Gun Place.

Doctor Who: Teen Asists Radically Dull Interstellar Shenanigans

Well, we had a good run. From Listen to School space robot nonsense, we got three episodes that were, at worst, pretty good, and at best magnificent. And I must admit I was sceptical of Kill the Moon all week-it looked far too much like a cut-and-paste version of handfuls of previous episodes. Doctor and company arrive on a spaceship where they soon realise events are not going as historically planned; against-the-clock shenanigans ensue; everyone goes home. And, to be fair, that’s what I got.

But this episode bored the crap out of me. I’m almost glad I didn’t hold off on watching it till I was with my regular viewing party, as I had a lot more fun pausing the episode to play with my cat for brief periods and sighing loudly than I did actually watching those forty-seven minutes. I’m going to start from the top with a run-down of everything I think was wrong with this episode, because, aside from a vaguely cool design on the moon, I couldn’t find much to enjoy.

1. Clara

It’s a shame for Jenna Coleman, as she really has proved herself an entirely competent actress a number of times over the series. Here, however, the script threw raging inconsistencies her way that put everything off kilter. For example, it’s revealed that Courtney- the fifteen-year-old schoolgirl the Doctor whisked off into space at the close of last week’s episode- has been acting out because the Doctor says she wasn’t “special”. Courtney breaks into the Tardis, demands he take it back, and the Doctor instead offers to make her the first woman on the moon (?). Now, let’s consider that Clara and the Doctor’s adventures are, at least, quite often life-threateningly dangerous, and the last time Clara took kids in her care anywhere, they wound up with cyberman brain slugs attached to their minds. And they just went to a theme park. Why in the name of fucking hell would Clara decide it was alright to bring Courtney along on their adventure? Courtney winds up in mortal danger during her trip and Clara snaps “I HAVE A DUTY OF CARE” to the Doctor when he refuses to remove her from trouble. Not bringing your students to space with a time-travelling alien might be a plan next time, pal. It might seem like nitpicking here, but it’s these kinds of inconsistencies-purely there to drive the plot forward- that undermine the validity of her character. Why would she do that? She wouldn’t. But they needed her to so there could be a story. And that’s cheating.

2. Courtney

I must say that the wee lassie playing Courtney actually did a reasonable job, by which I mean she was a child actor who I didn’t want to cheerily throw to a pack of lions. But the script for her was jaw-droppingly bad- at once she was cowering from the evil spider monsters (who were crap and not scary at all), the next she was uploading pictures of her and the Doctor on the moon to tumblr because YOOF. She was clearly aware of and actively participated in the situation when she was in the room, but when she was placed back on the Tardis she simply whined about being bored, despite having been fully cognizant of the seriousness of the situation only minutes before. I’d also like to point out that Clara has tried for a long time to keep her life as the Doctor’s companion quiet- why would she invite ONE OF HER STUDENTS, established at the start of the episode to be feeling somewhat neglected and unimportant and with evidence of alien tech (she had the Doctor’s psychic paper), into space where she then took pictures? It won’t be fucking secret for very long if you go about like that. There was an implication, too, that Courtney just carries about a bottle of disinfectant with her at all times, which I know to be a lie. I was young once too, you know.

3. Sundry Characters

I’m not going to waste my precious time looking up their names, but the episode also featured three other characters who were sent to the moon to try and destroy it. Aside from showing no visible surprise when the Tardis and it’s occupants appeared on their spaceship (nor any explanation as to why it was crashing, either), two of them bought in via spider bacteria death, and the remaining one was barely sketched in. Usually, as in the Into the Dalek episode, we get a decent idea of the character’s backstory and motivations, but here I came away with the image of a shop window dummy in a spacesuit. She was a complete nothing. And speaking of complete nothings, the spider creatures that inhabited the moon were never properly explained and bore no relevance to the plot. And were also a bit rubbish.

4. The Story

I’ve spoken before about how interesting I find the idea of a fallible Doctor, maybe even a “bad” Doctor. This episode tried to advance this theme somewhat, with the Doctor leaving Clara with her two pals to make a vital decision- did they destroy the huge hatchling living inside the moon, or allow in to survive and possibly endanger the whole of humanity? (The correct answer here, by the way, is to destroy it- an answer so blindingly clear that it removed any of the moral gravitas the situation wanted to demand. The life of one creature versus the life of six billion people). It turned out all along that he’d known they were going to save the creature, and was basically letting Clara ride without stabilisers for the first time. When Clara confronted the Doctor about this, it was a potentially powerful moment that simply came across as pouty and stroppy on Clara’s part because of the hellish writing and the obvious lack of conflict in the big choice (I cannot stress enough how none of this is down to Coleman’s performance- even as she basically telling the Doctor to fuck off forever, Coleman kept it just about grounded). And just while we’re on the plot, too- did anyone else pick up on the weird pro-choice overtones in this episode’s central conflict? I’m on side with them, but there’s a time and a place and this was not it. The pacing was pretty dire, too- the first act was waaaay too short, with a saggy middle and an end so silly Capaldi looked embarrassed reading it.

Overall, then, I really couldn’t recommend this episode on any level. This series has had some bad episodes, sure, but they were a different kind of bad. Deep Breath had some fun introductory moments for Capaldi, while Into the Dalek had a vaguely interesting basic premise that just wasn’t that well executed (for me, at least). This was actually boring. I could have run you through almost all the basic plot after the first five minutes, because I’ve seen this before. It’s easy to fall into traps of similair plotting when your series has been running as long as it has, but, when that happens, you’ve got to distract us with something- a cool villain, interesting side characters, a sense of fun. I’m throwing it out there now by saying that Kill the Moon was one of the worst Doctor Who episodes I’ve ever seen-a flabby, scrappy, predictable story, inhabited by actors who were trying to make the best of characters who were for the time being at least, going nowhere.

And as for next week’s promo, can someone sit all the Doctor Who writers down and explain that putting a historical vehicle in space does not equal brilliant science-fiction? I’ll have you yet, Moffat.

Abysmal TV-Endings: Part III – Dexter

I done wrote an article about the terrible ending of Dexter.

The New Companion’s Guide to Doctor Who, Part 2: The Doctor

Beginner’s Guide to Doctor Who continues.

Chapter Three – Live Below the Line: Day 1 & 2

A very interesting challenge an acquaintance of mine undertook to raise awareness of the millions of people living in extreme poverty. Donate to her cause here https://www.justgiving.com/Michelle-Nyberg/

suomitown's avatarAnecdotes from Abrobiano

Meals

Monday 8 September 2014

Breakfast – Porridge made of oats and water

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Lunch – Rice, chicken paste and yoghurt (don’t recommend)

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Dinner – Fried rice, frozen vegetable mix and chickpeas (best one so far!)

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Tuesday 9 September 2014

Breakfast – Slept in (is that cheating?)

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Lunch – Same as dinner yesterday, fried rice, veg and chickpeas

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Dinner – “Risotto”: Rice and frozen veg mixed with one egg

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Challenges

Having prepared some fairly tasty meals so far, as well as just wanting to forget about others, this week has certainly brought up some challenges. After Day 1 and 2 I have identified two main themes: Food prices and energy levels. First of all, food prices in London probably don’t give me an advantage in this challenge, as well as making the decision to include all my drink as well in the £5, which has left me with less money for…

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The New Companion’s Guide to Doctor Who, part one: Must-See Episodes

The start of my beginner’s guide to Doctor Who. Picking these five episodes was a genuinely gruelling experience.

The Death of Undeath: True Blood

I done wrote an article about the end of True Blood, a secret pleasure of mine.